“Seth material” search engine (Jane Roberts)

Even your concepts of creativity are necessarily influenced by Framework 1 thinking, of course, so our sessions do indeed follow a larger pattern than that, giving you certain perspectives from different angles in book dictation, and in other material. To some extent the larger creative pattern of the material, which does exist and is sensed, is nevertheless not directly perceived, for you are bound to perceive it piecemeal.

I have said that acts of creativity best approach the workings of Framework 2, for [those] acts always involve leaps of faith and inspiration, and the breaking of barriers.

When you are writing a regular book you draw upon associations, memories, and events that are known to you and others, that perhaps you had forgotten but that suddenly spring to mind in answer to your intent and following your associations. When an artist is painting a landscape, he might unconsciously compare hundreds of landscapes viewed in the past in multitudinous, seemingly forgotten hues that splashed upon the grass or trees, or as he seeks for a new creative combination. Art is his focus so that he draws from Framework 2 all of those pertinent data that are necessary for his painting. Not just technique is concerned, but the entire visual experience of his life.

Framework 2 involves a far vaster creative activity, in which your life is the art involved — and all [of the] ingredients for its success are there, available. When you are creating a product or a work of art, the results will have much to do with your ideas of what the product is, or what the work of art is — so your ideas about your life, or life itself, will also have much to do with your experience of it as a living art.

(10:13.) Now and then people have such moments, and yet each private reality has its existence in an eternal creativity from which, again, your world springs.

Give us a moment… Your world, then, is the result of a multidimensional creative venture, a work of art in terms almost impossible for you to presently understand, in which each person and creature, and each particle, plays a living part. Again, in Framework 2 each event is known, from the falling of a leaf to the falling of a star, from the smallest insect’s experience on a summer day to the horrendous murder of an individual on a city street. Those events each have their meaning in a larger pattern of activity. That pattern is not divorced from your reality, not thrust upon you, not apart from your experience. It often only seems to be because you so compartmentalize your own experience that you automatically separate yourself from such knowledge.

Creativity does not deal with compartments. It throws aside barriers. Even most people who are involved in creative work often apply their additional insights and knowledge only to their art, however — not to their lives. Period. They fall back to cause and effect.